WRO 05 – the reviewing process continues – program preparations are coming to an end.

The selection committee has reviewed almost all of the 1168 entries for the WRO competition submitted by artists from 46 countries. From among this record-breaking number of works several dozens of works will be selected by the end of March. They will be presented to the audience and the international jury during the 11th WRO Biennale taking place in Wrocław, Poland, on 11-15 May 2005.

The WRO competition includes not only screen works, the jury will also evaluate media installations, performances, Internet based works and art CD-ROMs. The complete list of works and authors qualified for the competition will be published on 31 March 2005 at WRO website.

In addition to the competition screenings, the special and monographic programs will be presented by the curators from WRO and other media art centers from Austria, France, Canada, Serbia and Montenegro, USA and Great Britain. Also, especially for the foreign visitors of the Biennale, the presentation of Polish works, consisting of the best of 214 newest Polish entries, will be of great interest.

Once again after a few years break, the festival activities will take place in Teatr Wspóczesny [Contemporary Theatre], where the competition, monographic and special screenings, performances and installations will be presented. Additionally, up to 29 May 2005, the Wrocław National Museum will be hosting the special Biennale exhibition of interactive media installations, prepared by WRO in cooperation with the National Museum.

The International Media Art Biennale WRO is the leading forum for new media art in Central Europe. When it debuted in December 1989 as the Sound Basis Visual Art Festival, WRO was devoted primarily to audiovisual works in formats ranging from video and computer art to installations, performances and multimedia presentations. Since 1993, the festival – now a biennial event – has also explored digital art as a form of creative expression. WRO is an ongoing enquiry into the artist’s relationship to the blurring boundaries between high and popular culture, between local and global awareness, between commercial and independent endeavours. It puts particular emphasis on individual artistic strategies in the face of global tendencies, and on the fluidity of artistic responses to the culture of the society of the spectacle.